OK Go are back doing what OK Go do... this time with the help of robots.The video for Love - the second from the band's first album in more than ten years - is a real OK Go special: an incredibly complex, brilliantly choreographed performance delivering a momentous visual experience - this time with a kaleidoscope theme being central to proceedings. And of course, it's achieved in a single take.It may not be quite at the scale than some of their most outlandish productions, such as filming in zero gravity, but this has the full spirit and essential creativity of an OK Go video from back in the days of Here It Goes Again, with a great deal of outstanding technical input from their latter work. It is designed to dazzle, and it succeeds.From the start we realise that mirrors are going to play a big role in this one. And then we find that mirrors are moving in choreographed motion on robotic arms. Soon lead singer Damian Kulash is embarking on a series of costume changes, while performing, including a mirror suit. He and the band move through through a series of connected sequences that, in the grand setting of a 19th century Budapest train station, has the faint aura of a Busby Berkeley production in the golden age of Hollywood.The full involvement of the robots with the mirrors - and the way they create kaleidoscopic effects and play tricks on the viewer - can only be explained by watching the fascinating Making Of video. But as in all their previous videos, Kulash has played the primary role in the devising of the video, collaborating with an array of talents. And also, in this case, 25 robots. [imgtoken data:1]Conceived in partnership with creative agency SpecialGuest, produced by 1stAveMachine, with technology integration by SpecialGuestX, it's co-directed by Kulash, with Aaron Duffy and Miguel Espada. Other partners were project management experts PMI (who also worked on the previous video for A Stone Only Rolls Downhill), Universal Robots, Ray-Ban and Meta. The band wear the Meta-enhanced Ray-Ban glasses quipped with camera, audio and voice assistant functions, which created footage for the BTS video.“I still can’t believe we pulled off ‘Love’ in a single take," says Miguel Espada, co-director of “Love” and executive creative technologist, SpecialGuestX. "For me, this video is a statement of how creative storytelling and cutting-edge technology can work together. It wouldn’t have been possible without the collaboration of humans and machines.” “This is the kind of branded partnership you dream of - a product that is uniquely suited to help push the creative in a way no other product could," says 1st AveMachine executive producer Andrew Geller. "We've poured so much into crafting something truly original, and seeing the behind-the-scenes through the band’s eyes as they navigate this wild run of visual sleight of hand makes it all the more special.” Finally, its worth pointing out something that is obvious but may not be sufficiently recognised due to the fact he's also a musician: Damian Kulash is a genius-level creator in the artform of music videos. This video does not prove it - numerous other OK Go videos do that. It just reinforces it.Here's Damian, about the inspiration for the song Love that led to the video: “You know that dream where you’re somewhere familiar, maybe your childhood home, but there’s a door, one that was never there before, leading to some impossible magical place? Having children did that to my understanding of love. Suddenly, a huge new ballroom opened up off the little apartment I’ve inhabited so long - a whole new wing of love, grand and soaring and utterly overwhelming."It is endlessly amazing that we exist - little, conscious clusters of stardust occurring, apparently by chance, in the vast emptiness of the universe. And we get to experience love. It is unbelievable.”

The Mouthpiece-repped director on working with her idols, moving from Edinburgh to London (with geese) - and the need for greater mental health support to cope with the demands of the industry.Rianne White is a multi-faceted creative whose extensive list of credits as a director and editor include music videos for Young Fathers, Aurora, Ellie Goulding, Lola Young and The Proclaimers, and the short film Sugar For Your Tea, showcased in festivals around the world. In the past few months Rianne has added two exceptional videos heralding the exciting return of well-loved bands - Franz Ferdinand and Black Country New Road. Rianne has also worked for the TV series Outlander and the short film Nevada, directed by Ruth Paxton, as a choreographer and has collaborated on impactful projects including the Scottish campaign United To Prevent Suicide. Her work consistently explores themes of the ever-evolving resilience within identity and the need for connection with our people, our planet and our inner worlds.Having recently moved from her native Edinburgh to London she now gives us a glimpse into her own world via the SNAPSHOT Q&A. And you can find out what she thinks is 'sagacious'. What a great word...Name: Rianne WhiteBirthday: 2nd November 1991Where did you grow up? Edinburgh, Scotland.Place of further education and course (if any)? I never thought I would go into further education after leaving school as quickly as possible at the age of 16. But impulsively, years later, I took possibly the longest route (a casual 10+ hour trip) to Falmouth University to study a BA in Choreography. It was here that I taught myself film through the lens of physicality and movement. Those were some wild years on the coast.Where do you live now? I moved to London 6 months ago.Name a film or video or other creative work that had a huge influence on your career choice?I remember being very (very) young and finding the VHS of Tommy (1975, Dir. Ken Russell) and being completely fixed to the screen. The scene of him crashing through the mirror into the swimming pool embedded itself in my brain and conjured this curiosity into how cinema can punctuate inner worlds so deeply and beautifully. [vidtoken data:0]I don’t think I could understand a lot of what I saw at the age I was, but I remember whispering to myself that he was now free. Weightless in water. Transformed. I haven’t watched it since - I fear it would be like brushing your teeth right before a great coffee. Don’t want to spoil the memory.Labyrinth (1982, Dir. Jim Henson) was another one that made my expansive imagination feel seen in many ways as a child. David Bowie has always featured throughout my life beamed in through the womb to each postcode we lived in. It was wonderful to understand him here so young. My Scorpio only child gripped onto this with both hands, finding the theatrics energising and brilliant.Madonna's Frozen was such an important and inspiring visual for me.I also recall pre-double digits in age when I saw Frozen. NOT “the cold never bothered me anyway” one, but Madonna’s music video released in 1998 (Dir. Chris Cunningham). It permeated my mind in how she moved, the endless desert, birds and hounds - this was such an important and inspiring visual for me. The understanding and knowledge of music videos seeped into every pore, I was instantly addicted to where the music took the artist — what world, what shape of movement and if I was so lucky, which animal would find its way on screen alongside them. I was hooked![vidtoken data:1]What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?Life had been turbulent in my early to mid-twenties, shaped by family traumas and the discovery of mental health, with all the frills that come with it. I distinctly remember being at home in Edinburgh, staying with my mother at the time, when I received a message from Young Fathers' management about a potential music video.Within days, I was trotting down Leith Walk to meet them in their studio and discuss ideas. It was such an instant click, and as they played Lord through the speakers, I honestly felt an arrival within myself and instantly knew how important and essential it was for us to create art at this time.‘If wishes were horses, then beggars will ride’. The concept started with a rocking horse, and evolved into the wonderful Alloysious horseback on Magic. It was a dream producing, directing and editing this piece and waking up post-release explosion of news.[vidtoken data:2]This journey took me around the world to film festivals, landed the work in publications I had idolised, led to meetings with production houses, and ultimately resulted in signing with Partizan globally for three years. Most importantly, it brought me back to life, reigniting my focus on the power of the arts. If you ever have a moment, listen to Lord at full volume on headphones. It is magic.Best film(s) you saw last year?Perfect Days (2023) - this is like the book on the shelf that catches your eye to read time and time again before finally picking it up EXACTLY when you need it most. This Wim Wenders film, released 2023, gave me so much joy recently. I had sore cheeks from smiling all through it as its poetry and meditation of gratitude held by Kōji Yakusho’s character is so profound and understood. This is a deep inhalation, a tapping on the shoulder to open your eyes to what is around and find what truly brings you joy.[imgtoken data:1]Kneecap (2024, Dir. Rich Peppiatt) - this film triggered a constant ‘fuck yeah!’ reaction throughout. It combines the ingredients of electric film-making and cast - crowned by a story routed in language, defiance and legacy. Liam Óg, Naoise Ó Cairealláin & DJ Próvai are stand out.The Girl with the Needle (2024, Dir. Magnus von Horn) - hardcore trauma wrapped in the most stunning cinematic ribbon. Vic Carmen Sonne is mesmeric, and watching her veiled in black and white throughout her performance was such a treat. I enjoyed this, although I needed to hotbox myself in sage and incense after to bring my heart rate down.[imgtoken data:2]Favourite song/album/music artist in the past year?Kae Tempest holds a rhythm in my heart. Everything they do is just hitting a frequency and appetite for lyricism I don’t often feel absorbed within anywhere else. I am constantly in awe and grateful to have spent time with this beautiful mind and person. And Doechii’s album Alligator Bites Nevel Heal is sagacious. Offt. I love sticking this on.I am also a playlist addict. Last year's eclectic Christmas generational hotlist holding its weight through 2025 is studded with Tori Amos (Precious Things – one of the greatest tunes), Depeche Mode, Warren Ellis, Radiohead, Biig Piig, Nao, The Cure, Yeah Yeah Yeah’s, PJ Harvey to Khruangbin.It's alarming that in this line of work you’re constantly advised not to be overly political.Favourite music video/videos in the past year?Allégorie Citadine (aka An Urban Allegory) - a short film, directed by Alice Rohrwacher & JR, that's a beautiful exploration through the eyes of a child. This has so many great moments, and the child actor has one of the most beautifully expressive faces.[imgtoken data:3]I loved the Jungle series of music videos by directors J Lloyd [and Charlie Di Placedo], choreographed by Shay Latukolan and shot by the babe that is Tasha Duursma. Absolute tunes!Conceptually, I loved Waxxwork's Kasabian's music video which features a skydiver jumping out of a helicopter with the video of the band playing real time on the phone screen as it hurtles towards earth. There have been so many debates involving AI, and here is an example of how the magnitude, bravery and craft of an idea is as awe-inspiring as its final results when pulled off ‘IRL’.[vidtoken data:3]What was (or usually is) your favourite night out last year? The nights out that start with the side eye ‘lets go for one’ and then transpires into new found friends, a lot of dancing and uncontrollable laughter.In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?Franz Ferdinand's Night Or Day was, hands down, one of the best experiences all round. From the first listen I was transported to my youth in T in The Park and being in the bounce of the crowds to Take Me Out in the Scottish cry of ‘here we, here we, here we fucking go’ and having them echo throughout Scotland and beyond. It’s such a defining moment to collaborate with artists whose music has illuminated parts of my life - and even more incredible to work with them on home turf in Scotland, in the very place where they recorded the music. Woah![vidtoken data:4]I have so much love and respect for everyone involved and couldn’t be more impressed by the incredible individuals who make up Franz Ferdinand. Alex, Audrey, Bob, Dino, and Julian are such genuine souls, and they made this experience truly unforgettable.It was also a real treat that Alex foraged potatoes and rosemary from his garden and rustled them up for the crew - true gent! What a bunch of legends. I’m so grateful for the treasured new friendships with these wonders and can’t wait to hear what’s next! Their The Human Fear record, released earlier this year, is an absolute rocket - get it in your ears![imgtoken data:4]Above: Alex Kapranos, lead singer of Franz Ferdinand, picking rosemary - shot on 35mm by Rianne White.Another absolute dream was working with Black Country, New Road on their beautiful song Besties. Never have I been so happy to be stood in a field with mud up to my thighs, grinning while filming.This all came through a spark ignited with the song itself from the first listen. I remember responding to it by writing about my childhood bestie Sophie (of almost 30 years). We would write to each other often and mastermind ways to get back to each other after a devastating parting very early in our childhood when I moved back to Scotland. The understanding of female friendships was so pure and informed by the intricacies of map drawing and endless imaginative worlds with no care of distance. One deeply understood platonic love, one objective – finding your bestie.Meeting the band, and ideating with Georgia and Ginny was the most wholesome and beautifully shared moment as all the parts came together. Fireworks, hounds and the heartbeat of the harpsichord found us running across parts of Hastings and sharing a collective vision of dropping the world for your bestie. Black Country, New Road are truly brilliant![vidtoken data:5]What are your favourite other (non-mv) projects of the past year or so?Working with HUGO across two commercial projects was an incredible experience - a true testament to the energy and passion this kick-ass brand brings to set. I adore these wonderful people. It was a pleasure to work on their collaboration with Bella Poarch in Milan and to feel the electricity of creatives across stills, socials, and film - one huge dance against the clock unfolding in rapid succession.Their trust and support made the whole experience feel limitless and free. And of course, I was joined by my ride-or-die DoP, Tasha Duursma... Who, let’s face it, is an absolute radiant talent.[vidtoken data:6]Months later, we reunited for HUGO’s F1 Racing Bulls collection in London with Daniel Ricciardo and Yuki Tsunoda. It was another perfect fusion of energy and creativity. Daniel and Yuki were hilarious and a joy to direct, and it was deeply humbling to be back with the HUGO gang once again.What’s the most surprising thing that’s happened last year?Waking up in a new postcode and calling it home is surprising, even when manifested and planned into boxes of books, art supplies and enough plants to oxygenate another planet. The move from Edinburgh to London by van was pretty smooth with my partner-in-crime through the crowds of The Fringe, several weather fronts and when hitting the open road under a migration of geese – also travelling south.A few days after my birthday last year, a notification popped up that a photograph I had taken was chosen to be exhibited in the Glasgow Gallery of Photography’s Women in Photography collection. It’s been magic to have a part of me up in Scotland while I am down here [in London], and the support from my favourite people.[imgtoken data:5]Most annoying/irksome thing that’s been going on this year (work-related or otherwise)?Honestly, with the world right now it feels impossible even to hold the word ‘annoying’ in context with how immensely depressing and heartbroken the state of humanity is – especially with our mass media exposure of the genocide of Palestinian people alongside the need for collective liberation against oppression of Sudan, Congo, Tigray, Lebanon, Yemen... and may other places that are being underrepresented by Western media. This sided with Trump and the far right - fucking kill me now. Beaming so much love to our LGBTQ+ beautiful queer community – I love you, I see you.It's alarming in this line of work (or any) that you’re constantly advised not to be overly political or let your mouth run on topics that might upset. It has been beautiful to come together with friends and family in creating noise and awareness. I am so grateful to those who sponsored and supported my ‘Stride For Palestinians’ fundraiser with Medical Aid for Palestinians and other links/sources shared. It’s the tip of the iceberg, but it's led to many conversations and modes of action. When life feels too overwhelming, I am so grateful for my community – the people who love the people, nature and freedom on this planet.The need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE.Your top suggestion to change and improve how the music video industry works?It feels like the ‘known thing’ that music videos don't have a lot of money and that to make a career solely of music videos is fundamentally not doable for the vast majority of people - unless you come from money/willing to give part/majority of your fee to the project itself. As a person that does not fall in this category it has been extremely hard to balance passion with financial security.There should be more support for creatives in the pitching process, empowering fees for time spent on creative ideation, especially in line with numerous treatment submissions. In all areas of production, from pre-to-post, the need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE. I have felt the machine of expectation in spells of ‘we need to get this across the line’ and the sacrifice of creative/payment, or the toxic positivity of ‘but this is a great opportunity/ you should be grateful’ in line with the amount of work required from craft and soul. It is the best job in the world to me, but it is hard work.I have been so fortunate with the people I have created with, and I have the upmost respect for the brilliance and empathy that exists within our teams. We need to support our creative minds better, and celebrate the meeting of music and film in the way it truly deserves for all artists involved.What are you looking forward to for 2025?Creatively I am pouring my heart into developing a short I have been dreaming about for years. I am so excited for this to evolve and grow with me and be able to collaborate with brilliant people. In a couple weeks I am off to Japan to celebrate my partner's birthday and see great friends for adventures seasoned with cherry blossoms, street photography, new tastes and culture.On my return, I want to hit the ground running and dive even further into the world of creation. There are so many musicians that have my inner world bouncing with inspiration and collaborations with brands that excite me deeply. I will be fully openfor business in May 2025 and cannot wait for what is to come. Here we, here we, here we.....• Rianne White is represented for music videos by Claire Stubbs at Mouthpiece; watch more of her work here

Pianist/composer Tigran Hamasyan and director Ruben Van Leer unleash another mesmerising section of an ambitious longform project based upon the Armenian folktale Hazaran Blbul (or The Bird of a Thousand Voices).A few months ago, Armenian-born Hamasyan and Dutch director Van Leer released The Quest Begins, as the spellbinding opening chapter of a stunning cinematic interpretation of the folk story. Sing Me A Song continues the story of the king's maligned son who embarks on a search for the mythical bird across the Armenian mountains, to save his father's kingdom and redeem himself.The continuation of the story is once again characterised by Van Leer's epic cinematic vision. However, Sing Me A Song is also takes another bold narrative leap.[imgtoken data:1]This chapter begins in the future, with one man as the final occupant of a toxic Earth at a remote telescope station, before finding the ancient tale in his shattered world, flashing back to the Prince's progress in the mythical tale, and the transcendental dreamlike visions that haunt them both.From the dusty colour palettes of the future to the monochromatic rendering of the folktale, it is captured with wonderful cinematography by Ezra Reverda, filmed in remarkable, inspiring locations. This world is immersive, ominous and yet, ultimately, strangely hopeful, blending sci-fi, myth, and spiritual allegory.This is another impressive chapter from the longer cinematic project - you can find out more on Van Leer and Hamasyan's collaboration on the project here. If you have not seen The Quest Begins, well worth checking that out before watching this.

Darri Thorsteinsson and Rufus Tiger Taylor co-direct a rip-roaring, all AI-generated video for Justin Hawkins' veteran pomp rockers The Darkness that goes way over the top - and then just keeps on going.Just as the band specialize in old-fashioned classic rock - sprinkled with self-knowing tongue-in-cheekery - the video for Rock And Roll Party Cowboy is an epic that plays like an an unearthed rock video from the days of big hair and even bigger budgets. It's as big and bombastic as the music. Actually even more so.3D artist Thorsteinsson (aka Darri 3D) and Taylor drop The Darkness (their AI-generated avatars, that is) in a club in neon-drenched Vegas venue, performing to a large crowd before the anti-hero biker star of the video arrives to kick off an ever-escalating riot of devastating mayhem. And then... the flying saucer arrives. Plus the band zoom off through the desert continuing to perform whilst on their motorbikes.It's ridiculous, it's hilarious and it's very Darkness. It's also remarkably well achieved (for a track that's over four minutes), drawing on a host of influences from 80s videos to big budget Hollywood blockbusters onwards. And it may certainly leave you with mixed feelings: awe at the quality of the product created via the latest AI technology; trepidation, even terror, that the capabilities of the tech are potentially as apocalyptic as the content of the video.But ultimately the video is so ludicrously entertaining that although you may not quite forget its AI, you may feel you can rest easy. This is not an Uncanny Valley type of video. It could basically be done in other forms of animation too - if you had all the time in the world.[imgtoken data:1][imgtoken data:2]